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The band nailed Fire by Jimi Hendrix by the second run through, it’s really enjoyable when tunes really gel almost immediately, it’s going to be added to our set for the gig this coming weekend. 👍

A X-over is the way to really tweak the high end (*) while keeping low end clear and functional. After trying many OD/fuzz/dist pedals, X-over made many of them functional if the full band sound was miserable (like they so often tended to be). Flanger/chorus is the same, you can adjust all parametres freely, and the low end stays intact. (*) To me high end here means frequencies over 400 Hz. Your cross over f may vary.

Just read that section. I'm going to let it percolate, then read it again. When I get home, and can set up my FI, I can run through the example they describe, which ought to help.

Or a new** rat skin loincloth ** freshly clubbed to death

@stewblack also realised that the right-hand slider values for the coarse tuning aren’t shown in the screenshot. Set them to 12 higher than the value of their left ones.

Sorry, @SamIAm, I am late just like @cdog. Have posted this elsewhere, too. These chords are played with three strings only (it's easy to move or expand these across the fretboard). Play and listen to the chord voices. May help you to find some interesting sounds and possibilities. Sorry for funny coding of the four first triads: v = diminished, m = minor, d = major, y = augmented; I did this with a matrix printer maybe +30 years ago. Cross on a dot means the root note. To compare these, start the pattern from the same root note, like E (played from the seventh fret of the string A). You need to move your hand every now and then to keep the one-finger-per-fret idea through the chords. Concentrate first to the minor and major triads, then study 6, m7, 7, mMaj7, and Maj7. The rest is jazz. Where's my coat? One easy approach in playing is not to go to the next note from the direction you are coming from: say from A string third fret C to D string third fret F via D string first fret Eb. Then play that same C and approach the F from D string's 5th fret G. In other words starting from the beginning of the Smoke on the water: C - Eb - F or C - Eb - E - F (or C - Eb - Gb - F, or the now funny sounding major version C - E - F, and C - E - G - F, and so on) How about this, then: C - G - F or C - G - Gb - F (and C - Gb - Eb - F, or C - Gb - E - F etc.) You end up to the same place but they all sound very different. If you use four notes instead of three, you need to rethink the phrasing, the rhythm.

Nomad Bassman, for when you absolutely gotta compress the f*** outta everything 😀 Loved mine 👍

I had one of the percussive fretless ones many, many years ago. I think it was one of the instruments I part-exchanged to get my Warwick Thumb in 1988.

Wouldn’t be beyond comprehension the old TSBS bass had SD pick ups from the factory

We've spent several hours of prototyping to design the right angle to not damage the string. There is no problem even with a .130.

I've found,through trial and error that the combination you guys mention is the best overall.Theres definitely a punchier sound with the gain about 12 o clock and just using the Master to control overall volume.I find I'm having to keep the bass control at about 2 o clock to get decent bass.Im using the amp through a 1 x 15 Laney cab with Mids at about 9 o clock.What settings do you guys use? Bass is a HB MM 5 string clone.

Eat It Up Worms Hero - Cardiacs

Kind of, but the superfilter has low, high and band pass filters with the low end of the low pass filter starting at 45hz to 6Khz and my bass has just low pass filters with the low end starting at 350Hz and the top end 6kHz so the super filter gives me a way to access and manipulate the really deep low end The way I have it wired is through the send/return channel and you can think of it like a 3 channel mixer. The input from F-1x send to the SF-2, you can think of as being split into three, with 1 being the clean channel, one channel going to the A channel of the SF-2 and the other to the B channel on the SF-2, then the settings you use on the SF-2 channels are mixed with the clean channel and fed back into the return channel of the F-1x and sent to the power amp. I tend to use the SF-2 mainly for reggae gigs because i can eq the low end, choose how much of it goes to the amp whilst keeping the clarity of the original bass signal. There are different ways to wire up the SF-2 to give you more options.

Having made my own headless tuners in the past (They were functional but not pretty!) I am impressed by this design, it looks very elegant ... and not having a cutaway to allow access to the tuners is very appealing. The tuning knobs remind me a little of the ALP system, but appear more robust. How much of an angle/bend is introduced where the ball end of the string descends into the mechanism? It appears to be almost a right angle, how does this work with heavy guage strings (Like a .130 low B)? Sam x

Congratulations on your NBD Mine's is a tale of woe and regret, for not buying one from Doug years ago.

Wiggly Worm ～ R̶F̶K̶ J̶r̶'̶s̶ d̶o̶c̶t̶o̶r̶ ̶ No Means No

I like this one. But there is no "upright bass sound". Someone playing rockabilly on a laminate bass sounds quite different from Charlie Haden or Eddie Gomez playing jazz on something ancient. Personally I'm going for a softer high-mwah sound whereas others are after a well damped solid thud. Too right, who plays the same lines on electric and upright?

Yes, yes it clearly does.